Guillermo Pérez (Barcelona, 1980) is a conductor, researcher, specialist of early keyboards and virtuoso player of the organetto, the iconic and expressive portative organ from the 14th and 15th centuries’ European music culture. He graduated from Barcelona and Seville Conservatories and studied later in Milan, Rome and Toulouse. During the last 15 years he developed his own technique, becoming one of the rare specialists of his instrument with a very personal style, refined and poetic. With his ensemble Tasto Solo, he creates innovative programs, with astonishing sonorities, which the group performs regularly in most part of top European festivals and concerts venues. He also collaborates with prestigious international groups including Mala Punica, J. Savall & Hespèrion XXI, Micrologus, The Unicorn Ensemble, Diabolus in Musica, ClubMediéval. He recorded over 20 CDs for Aeon, Alia-Vox, Musica Ficta, Naïve, Passacaille, Pneuma, Raum-Klang, Ricercar and Zig-Zag Territoires labels.

Guillermo Pérez is currently teaching organetto and medieval music at the Koninklijk Conservatorium Brussels (KCB) and renaissance diminutions at the Pôle des Arts Baroques (PAB) of Toulouse Conservatory. Between 2010 and 2013 he organized the “International Cursus of Medieval Music” at the Centre Itinérant de Recherche sur les Musiques Anciennes (CIRMA) in Moissac, France. From 2011 to 2015 he has been a guest teacher at the Centro Studi Europeo di Musica Medievale “Adolfo Broegg” in Spello, Italy. Between 2013 and 2016 he has taught medieval music at Toulouse Le Mirail University. In 2017 and 2018 he leads a project on medieval motets conducting a group of young singers from Girona’s Conservatory in Spain. He also lectures and offers workshops at main institutions including Wien, Moscow and Orsay Conservatoires, the Schola Cantorum Basiliensis, the Academia de Órgano Julián de la Orden, The Grieg Academy University of Bergen and the Essen Folkwang Universität der Künste among others

Guillermo Pérez is now presenting new programs covering his work as a performer and researcher on repertoires from 1300 to 1550.  He is also engaged on contemporary music in collaboration with the renowned Spanish composer José-María Sánchez-Verdú, including the world premieres of Totentanz-Buch (2015, Semana de Música Religiosa de Cuenca), Tous les Regretz (2016, Museo del Prado - Exposición El Bosco), and Chanson bleue (upcoming release). Since 2016, he (re)constructs with the Italian organ maker Walter Chinaglia medieval and early Renaissance organetti and organ models. In 2012 they brought to life a surprising organ designed by Leonardo da Vinci in 1503 and preserved in one of his personal notebooks, the Codex Madrid II (fol. 76r) from the Biblioteca Nacional de España.

© Guillermo Pérez |